Jan 202020
 

In spite of being “just” a consultant, Pete Holland of The Floating Rum Shack is so completely identified with the rums of the cheekily named That Boutique-y Rum Company, that we sometimes overlook the fact the outfit is actually part of Atom Brands which runs the Masters of Malt online spirits establishment. The curious matter of his being seen as the face of the brand can be directly traced to two things – his consistent promotional work for TBRC online and off, and the irreverent paintings by Jim’ll Paint It that adorn the labels of the bottles, many of which feature Peter himself.

In a field ever more crowded with new bottlers, new distilleries and new (supposedly improved, but not always) offerings from the old houses, all vying for our limited attentions spans and slim, wife-approved budgets, one can hardly fault such an in-your-face marketing strategy, you can only admire how well it’s done. It helps, of course, that Peter really is a fun guy to hang out with, drink with and make jokes with (or at) – and that the rums the company has released so far have been pretty damned good.

Take this one, which proves that TBRC has a knack for ferreting out good barrels. It’s not often you find a rum that is from the French West Indies aged beyond ten years — Neisson’s been making a splash recently with its 18 YO, you might recall, for that precise reason.  To find one that’s a year older from Guadeloupe in the same year is quite a prize and I’ll just mention it’s 54.2%, aged seven years in Guadeloupe and a further twelve in the UK, and outturn is 413 bottles. On stats alone it’s the sort of thing that makes my glass twitch.

Still, with the facts out of the way, what’s it like?

Very nice…if a little off the beaten track. Now here is a rum based on a batch of molasses (so it’s not a true cane juice agricole), and it starts off not with grassy and herbal and citrus aromas, but with crackers, caramel, and breakfast cereal (Fruit Loops, I say, from the experience of buying tons of the stuff for the Baby Caner back in the day).  Which I like, don’t get me wrong…once I adjust my mental compass away from agricole territory. The nose also displays toffee, nougat, nuts, almonds and mixes that up with a softly emergent slightly sharp and piquant fruity bouquet that’s quite simply delectable. The balance among all these elements is really good, negotiating that fine and tricky line between muskiness, sweetness, crispness and sharpness in a way we don’t often see.

The palate confirms that we’re not dealing with a cane juice rum in any way – the wood is more evident here, there’s some resin-like backtaste, smoke, vanilla, molasses and brine, offset by light flowers, and a sort of subtle fruity sweetness. The fruits are kinda tough to pick apart – some red grapes, I suppose, pears, papaya – it’s all very light and just a tad acidic, so that the combined profile is one of a seriously good rum, concluding with a reasonably long finish that is sweet, salt, wine-y, and crisp, just the slightest bit sour, and overall a really welcome dram to be sipping after a tough day at the rumfest.  

Guadeloupe rums in general lack something of the fierce and stern AOC specificity that so distinguishes Martinique, but they’re close in quality in their own way, they’re always good, and frankly, there’s something about the relative voluptuousness of a Guadeloupe rhum that I’ve always liked. Peter sold me on the quality of the O Reizinho Madeiran a while back, but have my suspicions that he has a soft spot for this one as well.  Myself, I liked it a mite better, perhaps because there was just a bit more going on in the background and overall it had a shade more complexity which I appreciated. It’s a really delectable dram, well aged, damned tasty and one to share with all your friends.

(#693)(87/100)


Other Notes

Peter told me that the label was a little misleading. The initial image on the bottle I tried makes a visual reference to the (Gardel) distillery on Marie Galante, but it was actually distilled at Damoiseau’s Le Moule facility, from a batch of molasses rum produced on their creole column. The label has been redrawn and there’s a movement afoot to re-label future iterations — Rev 2.0 adds Peter to the artwork and pokes a little fun at the mistake.

Feb 042019
 

Last October, I ran into Pete Holland of the Floating Rum Shack at the Berlin Rum Fest (literally – I tripped and nearly fell into his shelf of rums, and he saved them by interposing himself so they would not be damaged, even if I was).  Although we, as long-existing rum bloggers, knew of each other — all of us know each other in the Oasis — we had only met once before, so I bee-lined over to see what he was doing. It turned out he was stewarding the line of rums from the cheekily named “That Boutique-y Rum Company” (hereinafter referred to as TBRC) a division of Atom Brands, which in turn runs the Master of Malt online spirits shop (and which also self releases and self reviews the Cornelius Ampleforth rum, if you recall). Pete steadied me, indicated the whole range on display, and asked what I wanted to try.

I looked at all the familiar countries, ignoring most, looking for the unusual, not the standard – something the brand has done that takes us into new territory to awe and enthuse (the way Foursquare has done with the ECS, L’Espirt is doing with its 2019 whites, Rum Nation did with the Supreme Lords, and Velier did with…well, just about everything).  These days, I want something weird, off-kilter, new, exciting, different – and still tasty.

Alongside the Bajan, Mudland, Jamaican and other suspects (all of which had arresting and brightly-drawn, brightly-coloured labels that took Bristol Spirits’ colour scheme out back and whupped it), there was one from Travellers (Belize) and Bellevue (Guadeloupe)…this looked promising.  But after five minutes of chatting, I was having difficulty making a decision so, I asked him: “If you had one rum out of this entire selection you’d want me to try, which one would it be?”

Now you could tell that Pete, who is a consultant for the company, not an ambassador, really liked pretty much everything, which is why he kept his glass on the go the entire time from different bottles (under the pretext of helping out the bright-eyed but inexperienced rum chums swirling around the booth). “Yes mon, me drinkin’ de same rum dat me showin’ you, so it gotta be good,” you could easily imagining him saying as he avoided braining passers-by with his tasting glass using graceful moves of the arm, never spilling a drop.  So I was curious what his own favourite was, shorn of the need to sell anything to me.

He hesitated, seeing the trap, but then grinned, sipped again, and then pointed at a bottle off to the side, sharing the same colour scheme as the Enmore and the Bellevue. It was from O Reizinho, a Madeiran outfit of which I knew nothing except that it was from Madeira (which, as an aside, is an EU-recognized agricole producer). “That one.”  And without losing his glass in the one hand, he proceeded to pour me a shot with the other, hefty enough to render me catatonic, then stood back to observe the results (much the way The Sage had done years back when I had tried my first clairin, the Sajous).

Strictly speaking, the rum is not that strong – “only” 49.7%, which is a couple of whiskers away from standard. It was made in Madeira, which intrigued me, as I really enjoyed the Engenho Novo rums made by Hinton and Rum Nation; and it was a pot still rum, an unaged rum, and a “white,” all pluses in my book.  And anyway, how could you not want to sample a rum named “The Kinglet”? I know I did, and not just because of his recommendation.

It didn’t disappoint, starting out with a firm aroma of salt and wax, very powerful.  Earth mustiness, cardboard, loam, olives, bags of salt. Like a clairin, but softer. Fresh and deep, edging “crisp” by a whisker, and while the herbal notes of dill and grass and fresh sugar cane sap were there, they were not so much dominant as coexistent with the other notes mentioned before. A really outstanding set of aromas, I thought, with an excellent balancing act carried off in fine style.

And the taste, the mouthfeel – wow, really nice.  Warm, sweet, dry and fruity, with raspberries, bananas, pineapple, papaya, salt olives all dancing their way across the tongue, without any sharp nastiness to spoil the enjoyment: I like rums north of 60%, of course, but there was no fault to be found in the strength that was chosen here because even at that low power, it thrummed across the palate and still managed to provide a clear demo of all the proper notes.  Excellent sipping dram as long as you’re okay with a not-so-furious amalgamation of sweet-brine-soya-miso-soup admixture. If it faltered some, it was on the finish – and for the same reason the nose and palate were so good, i.e., the muted strength. That didn’t invalidate it (to me), and it was pleasant, sweet, soft, warm, firm and fruity, with just a little edge carrying over to complete the experience.

O Reizinho means “Little King” or “Kinglet” depending on whose translator you use, and is a small distillery perched on a hillside on Madeira’s east coast by Santa Cruz.  It is run by Joao Pedro Ferreira, who returned from a sojourn in South Africa some years back to go into the rum business with his father. They source cane locally, crushing it in one pass only (no messing around with a 2nd pass or adding water) and then let it stand in a week-long fermentation period.  Then it’s run through a wood-fired steam-injected pot still, which on a good day can provide a dozen runs. So French island nomenclature notwithstanding, this is an agricole spirit, and it adheres to all the markers of the cane juice rhums, while providing its own special filip to the style.

Initially, to get things going for the first release, TBRC bought some of those rums from a broker (Main Rum) the way so many new and old independents did and do.  But this one was bought direct from O Reizinho, and the intention in the future is to continue to do so, and to go with both aged and unaged products from this tiny distillery.  If they keep bottling — and TBRC keeps issuing — juice as fine as this, then all I can say is that the future is a bright one for them both, and I look forward to trying as much as I can from TBRC’s extended range of rums generally, and O Reizinho specifically.  They’ve enthused me that much with just this one rum.

(#596)(86/100)


Other notes

  • Batch 1 of this rum is 487 bottles
  • Just for the record, I really enjoyed the brightly coloured, lighthearted design of the labels, which are a nice counterpoint to the minimalist “facts-only” labels currently in vogue. The artist is from the outfit Jim’ll Paint It (FB Link)(Website)- ATOM brands came up with the brief, then Jim brought it to life.  In his work he reminds me somewhat of Jeff Carlisle, who did “Another Night at the Warp Core Cafe.